MEN: Possible side-effects include: Feelings of inadequacy, man-on-man feelings, envy, the urge to take up smoking, suspicion that you are an LMD, the urge to punch German people in the face, the urge not wear a helmet.

WOMEN: Man-on-woman feelings, the vapors, the urge to wear skin-tight white clothing, suspicion you are an LMD, the urge to punch Germans in the face, the urge to smoke cigars, possible pregnancy.

No word yet on whether Marvel learned their lesson and is actually paying Steranko this time around, but I've sent off a few e-mails inquiring about that, and I'll keep you posted. I'm a little irked that they're cutting it off at NF #3, just because Steranko's last interior work on the book was in #5, and continued a story started in #1. Seeing as how #4 was a fill-in issue by Frank Springer, I don't see why they couldn't have just put #5 in this volume, and left #4 for a hypothetical next volume. I know the Masterworks are pretty staunchly chronological, but come on.

Anyway, to celebrate, have a picspam of my favorite moments from those issues!

This is from 1975, taken off the envelope you received when you joined Steranko's Brotherhood of Bronze (along with a pinback badge, membership card, slap on the back from Pat Savage and kiss on the check from Monk. Or was that the other way around?) Anyway..

There were a lot of Doc-related projects in the air that year because of the feature film directed by George Pal and starring Ron Ely. You may wonder why that movie went so terribly wrong. In one interview, Pal let something slip, he said he needed to make some changes because the studio felt he made it "too good." They wanted it camped up. Maybe this explains the John Philip Sousa score and male chorus, the literal twinkle in Doc's eye, the loopy sound effects. I've sometimes thought it wouldn't take much tinkering to make a much snappier and more palatable DOC SAVAGE: THE MAN OF BRONZE out of that flick.

Steranko did a few covers for the Marvel color comics version, as well as a few promo pieces. But he never seemed to "get" the character the way James Bama did, and always seemed much more comfortable with the Shadow. Even so, a bit of vintage Steranko art deserves a moment in the light.

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